Hands-on with the Olympus OM-D E-M5

Image quality - initial impressions

We can't show full size images from the E-M5 or make any definitive statements on image quality, but we can share some initial images and impressions. Perhaps most importantly, despite the switch to a new sensor, Olympus's signature color rendition appears to have been retained. This means that the camera outputs attractive images with slightly warm and saturated, but crucially pleasant color, shot after shot. This may not matter so much to committed RAW shooters, but we're always pleased to see it, as it means you don't necessarily have to shoot RAW to get really nice results.

First impressions of the camera's high ISO output are pretty favorable too. It looks like the E-M5 should be quite useable at ISOs where the 12MP PENs would really start to struggle. Obviously though we'll look into this in more detail when we get a production camera to review.

On a dull grey day, the E-M5's signature 'Olympus color' has livened up a scene that many cameras would render as drab and unattractive.

The E-M5 also offers the kind of warm, flattering skin tones that we've become used to from Olympus.

In this ISO 1600 shot, colors retain saturation and noise is well-suppressed.

I'm not claiming this is any kind of artistic triumph, but it was shot at ISO 8000 at twilight, yet still maintains decent color.

Art Filters

We've long been fans of Olympus's Art Filters, which have been widely imitated but never really bettered. These image effects make far more sense on mirrorless cameras than SLRs, as their effects can be previewed live in the viewfinder and taken into account during image composition. This actively encourages a bit of creativity, and lets you tailor your composition to the desired processing effect rather than vice versa. The E-M5 allows you to record a normal RAW file alongside your Art Filtered JPEG, and you can reconvert this in-camera to other Art Filter effects too (or simply use normal image processing).

As is the Olympus way, the E-M5 offers a few new filters and variants; there's an entirely new 'Key Line' filter which apparently is inspired by the Japanese Manga style of drawing. It's one of those filters that works quite well for the occasional shot, but you probably won't be setting as default. The existing 'Cross Process' filter gets a strongly magenta-toned variant which, equally, is effective at times but overall of less-than-universal utility.

Cross Process II adds a strong magenta tone, particularly to neutral areas of the frame. Like several of the filters it's not especially suited to everyday scenes.

The old favorites are still in place, of course; this is Diorama mode...

... and this is the slightly eye-watering Pop Art, with Pinhole effect added on top.

However, there a couple of more positive changes. Dramatic Tone now has a monochrome variant that gives interesting results, offering a rather different high-contrast monochrome 'look' to the familiar Grainy Film filter.

Art Filter bracketing - the ability to save a single shot using multiple different effects - can now be accessed much more easily, as the final option in the filter selection menu. It still has to be configured in the main menu, but if you have a few preferred filters you regularly use, then you can set the camera up to process your shots accordingly.

Art Filter Bracketing lets you record multiple versions of the same shot. This is a Grainy Film variant of the Dramatic Tone shot above...

...and here it is in Pinhole. If you record RAW files then you can apply all also these after the event, either in-camera or using Olympus's supplied software.

Summary

I may only have had my hands on the E-M5 for a relatively limited period of time on a dull day in Amsterdam, but that's still enough to leave a very positive impression. It's the kind of camera that long-term Olympus users will recognize - small, solid, and highly capable - and its high-end spec such as weatherproofing and fast continuous shooting is the icing on the cake.

The only potential banana skins we've identified to consider before placing a pre-order are the tiny buttons and the way that the optional larger grip makes certain controls less-easy to reach - perhaps most notably the movie record button. But in key areas such as speed, access to essential controls, and most importantly image quality, the E-M5 appears very promising. We'll obviously need to wait for a fully-reviewable sample to really get to grips with it, but the omens are looking good.

Oh, and a few more shots...

The highlight of the various events Olympus laid on to showcase the E-M5 was a studio portrait shoot, under the genial direction of photographer Paul Schirnhofer. This gave an opportunity to experiment with different styles and Art Filters, with a professional model and lighting setup. Here are some of the resulting shots.

I really need to upgrade, and am seriously considering this camera. But I was disappointed too many times, so am waiting for the dp review.Also didn't decide yet which lens(es). Too bad the 12-50 is so slow ... wish Olympus converted the 12-60 to m4/3 and contrast AF...

I wonder what specifications OMD EM6 will carry when EM5 sounds/ looks complete.... maybe just higher resolution and larger sensor and a flash...or go "connected" like Samsung.... I really want this camera but I am so broke... :(

Superb review and camera. Recently delighted with purchase of Pen EP-3, one of the greatest bargains in the history of photography, which has only one weakness: action autofocus. This machine certainly fills that need. Not much happens between frames at 9 fps and this "battle" is at the "who cares?" level of the megapixel wars of a few years ago, when Canon went backwards on the G11 and went for larger more sensitive pixels, and images got better, low light photography has been totally transformed (the EP3 @ 12,000 ISO produces very acceptable images). My son shoots LaCrosse and this camera has the speed for that lightning fast sport. The photographer now is the limiting factor, not the auto focus speed. I'm selling all my Canon gear for the vastly lighter, faster, cheaper Olympus lineup.Mogenie

Not very clever statement. Brave fabrication. Where did you find Konica, in what aspect E-M5 reminds you of Konica? Olympus designers have no reason to copy anything but their own OM series, body shape, even single button design and ergonomics.They aim exactly to OM, they even left out few good OM solutions, probably with good reason.Maybe we can just say they copied SLR design in genaral, at least you can't invent new and better lens hood, 150 or more years too late. Same things are simply generic, I expect the dails and buttons on today's (& future) cameras to be rounded etc.I don't care for any company, but it is so clear that they are trying to maintain good (Maitani) attitude to design intended for users. It looks to me they are compensating 4/3 decision on every other level they can. In today's more&more uniform world I always appreciate courage and originality. & that's it.

At the end they sell their product to us, of course. I wish they give it to me for free. ommmmm

I just hope the tiny controls/buttons are larger than the Olympus Pen EP1 I tried at a store last weekend. The main four way control diall is sized for a slim eight year old, not a hefty 65 year old like me. I really hope the controls are usable for me, as I'm looking for a camera to travel with easily. I have a Nikon D2x that I had used when I was a pro shooting mainly in the studio, but I took the Nikon and lenses on vacations which took up a whole Pelican suitcase sized case. I need a small easily portable camera with image stabilization and very good image quality. This and the new Sony Nex-7 seem to fit the bill (the Sony has no camera stabilization and some lens availability issues I understand), provided the controls are large enough.

As a K-5 owner myself I could take offence at your remark, but you are right. The K-5 and the OM-D E-M5 (name far too complicated IMHO) are clearly shooting for the same market, those needing a small, robust weatherproof travel camera with good ergonomics. The Olympus emphasises the "small" angle and Pentax the "ergonomics" angle. Horses for courses.

If it had been released when I was in the market for a new camera I might have looked at it. Personallly, however, I would find it very difficult to work with a camera that did not have a decent optical VF, or at least a built-in EVF of sufficient quality.

I'd rather have a small pocketable add-on flash than a small pocketable add-on EVF. Besides, with the fast lenses you can get with m4/3 I find myself using flash less and less, and when I have to use one, I'll grab a FL36 or 50.

Primary reason for getting this over others is the video ability to focus like a camcorder. It's just I feel uneasy nowadays with bringing a camera of this level without a built-in flash, no matter how weak the flash is.

I had the same concerns with other cams that do not have some built-in flash. In my experience any sub-F2 lens does very well indoors or at night, and the result is even more natural than with a flash.

At $1299 with new kit lens - be nice, for those of us with a box of 4/3 lenses, if Oly tossed in the new adaptor for free (like they did with the OMZuiko-to-4/3 adaptor when the E-1 came out). Regardless, I'm in.

That's not fair! When one peforms the test shoot in Amsterdam, all camera's look better. :-)Now more serious: this looks like the camera I have been waiting for. As I understand the EVF can project a histogram in the viewfinder so one is able to adjust the exposure interactively before taking the picture, a feature I used very often on my Minolta D7, and which I dearly miss on the E330 which I currently own.For a year or so, I thought Olympus was fading out of existence because they did not seem to be committed to high end cameras. But luckily, they are 'back', with a camera that is a sensbile step forward (yes, I do think that mirrorless cameras are the future for high end photography). And it seems that Panasonic is finally able to get better high ASA performance out of their chips, so I hope that my saving money, and the inevitable drop in street prices will meet each other in the near future.

So, I still don't get it. People are getting this instead of Sony and Canon's low-end offerings. Mirrorless cameras are not exactly pocketable once you start adding the lenses (you're gonna carry a bag anyways). It has all the features and settings in DSLRs.

Yes but this compared to a DSLR is a much lighter and smaller kit, with the ability to use 90% of all the camera lenses ever made. Very attractive for someone who already has a large collection of high quality Canon or Minolta Rokkor Lenses, or any other high quality defunct system, and they want to use them on a hight quality versatile camera

Between Panny's power 14-42mm zoom, 20mm and 14mm primes plus the Oly pancakes you have a very portable option. Even with my GH2 and a pancake lens I can carry it in my coat when skiing... And you get a bunch of features Canon doesn't have - like the EVF for eye level video. If you are going to carry a bag anyways, then I agree there isn't a whole lot to be gained over a light DSLR. Still, I'd much rather fall skiing with a Panasonic 20mm in my coat pocket than my Canon 28mm f/1.8 :)

It is expensive, though, to maintain a whole extra system for portability alone. I think you really have to be making use of the unique features (face detection, EVF, aspect ratio preview, live black and white, more DOF, etc). Another difference is that the higher end MFT bodies are still smaller than the dslrs and offer more direct controls.

Compare the E-M5 to Canon's weather sealed offering (7D) then tell me the price, size and weight difference. This isn't an entry level mirrorless, so why compare it to an entry level DSLR that doesnt have weather sealing, 9 fps, 100% viewfinder, extensive physical controls, OLED touchscreen, 5 way IBIS, etc.If you want to compare an m4/3 to an entry level DSLR, then look at E-PM1, GF2, etc., which are around $400. Add an 14-150mm to an E-PM1, and you will not be able to match it's size and price with any Canon/Nikon/Sony 18-200mm on any body.

Along with ASP-C Pentax K10D I own still great despite its relative age Pana GF1 with a set of fine glass including truly amazing 20 f1.7. This new Oly E-M5 seems like probably current best in m43 world, almost ideal. But I'm not excited.

My beef is with m43 format itself, namely limited (compared to ASP-C not speaking of FF) DOF control. For my style in many situations I find myself longing for more shallow depth especially with m43 zooms that aren't fast. In terms of DOF f4.5 on m43 is more like f6.3 on ASP-C. Also I can't exactly pin it but GF1 output, even RAW, has this slight P&S-ish look to it. And I attribute it not so much to Pana sensor/processing but to smaller sensor since this look is present on many image sampels I saw from other m43 cameras.

So for myself, no matter how much I admire small size/weight of bodies and lens, I see an end of the road with m43. I'll either will continue solely with ASP-C upgrading to K-5 or maybe will complement it with Fuji X-Pro1.

As per the "point and shoot look," I only have images that feel that way when using extreme ISO settings (meaning limited dynamic range/tonal gradations) or extreme in-camera sharpening. This is true of any camera really... but the µ4/3 and 4/3 sensors have more headroom than a cheap P&S before getting "digital" and flakey, and in normal conditions is capable of high-subtlety results.

well your problem is nothing new. Photographers throughout history had this problem with 35mm cameras too, so they switched to a larger format system, they didn't demand the camera company's squeeze larger film in the cameras.. ... although now that i think about it , it would have been kool if one of the companys made an SLR that took 828 film and got an image frame that was a couple mm wider and taller.

Congratulations to Olympus, what a fantastic camera system. Pentax also made a fine move with its K-01. But its lack of a OVF/EVF makes it less fantastic.

In 5 years, probably less, we will see almost all cameras that cost under $1000(USA) a nSLR (no single lens reflex; my term). Nikon, Canon, Pentax will still sell dSLRs but for a higher cost. nSLRs will become very appealing for almost all enthusiasts.

Again great looking camera with a great feature set and at a great price!

Hi, how goes? To answer your question, I have personally tested the OM-D with my 14-54mm Mark I during a preview event, and from my observation, there is practically no difference in AF speed with the PEN E-P3. In dim lighting, the AF is really slow, but in good light, it focuses alright (1-2 seconds, give or take). I had better luck with my ZD 25mm pancake, which focuses really quickly even in low light (around 1/2 to 1 second), which I believe is due to it being CDAF compatible.

I'm afraid to say that the OM-D not being able to focus my legacy ZD lenses even at reasonable speeds is the reason why I will be skipping this one out. If you take mostly stills, and have no issues taking your time in getting the pic, it should be no bother to you.

_ the camera will attempt to track focus during shooting, and maintains a live view feed between frames in the process: the first Olympus Micro Four Thirds camera to do so. In principle this should help track your subject when panning._

Does it work in practice as well as in principle?

Two criticisms of m43 cameras are blanking the EVF while shooting bursts and not great C-AF. How does the E-M5 do?

what we see is, it is going to be difficult to get an up to date image image quality with this small sensor. being a seasoned olympus fanboy, i am disappointed with the IQ. the images lack sharpness/resolving power. maybe it was poor photographer skills, camera shake, etc.

but then again, what is the point in showing such technically bad images to the public which is obsessed with IQ, like dpreview.

overall, i am afraid this cam aims for young ladies with small handbags as a buyer.

Can you clarify exactly what you mean by 'lack sharpness/resolving power', and precisely which images you're concerned about? In the process do bear in mind that you're considering massively downsampled images (so you actually have no idea what the originals look like in terms of resolution), and that you should disregard anything processed with Art Filters, as these simply aren't about pixel-level IQ.

Andy, we both know, than even small internet samples *can* give you an impression of the IQ of the given camera. Think of an internet sample from a hasselbald back and a cell phone, even if small, they will show a difference between them. I simply dont see this IQ here.

For instance: the picture of the college building lacks definition in the cobblestones; James Bond alike, i would expect more detail in his hair; the picture of the model in the "natural" picture mode - i miss detail in her left eyebrow; the 8000 iso image shows probably more camera shake than anything else. Agree, most of the art filters images have a cell phone quality.

I just dont understand why are you showing such images at all, if, as you claim, the original image quality of the camera is much better. These examples tell me the opposite.

May be you could add more info about how did you process the images, what sharpening in camera, what sharpening for web, etc. Or do I miss something?

Small internet samples can give you some impression of the IQ of a camera, but it's folly to believe they can tell you anything about the camera's ultimate resolution. It's also, to my mind, odd to be assessing an ISO8000 shot shot for fine detail (especially from Micro Four Thirds), but maybe that's just me.
Anyway FYI the samples are out-of-camera JPEGs, shot using default processing settings, and downsampled in Photoshop using Bicubic with no additional sharpening (I'm really not a fan of the aggressive sharpening that seems popular on the web, but feel free to add your own). Overall you're massively over-interpreting these samples - if you want to know what a 16MP Micro Four Thirds sensor can deliver in terms of resolution, I suggest you have a look at some GX1 and G3 samples.

thanks for an update, but lets forget it. the samples you are showing are bad. i can easily take your word for that, the cam is in reality much better. it'd better to show it though. sorry, but i never wrote anything about seeking the "ultimate" resolution in a 1600px picture, your are massively over-interpreting my posts. :-)

@ wroclaw: I don't know what you see through your computer screen, but on my screen the images are just fine and sharp even when downsized to 1600px at the long end. And, it doesn't mean that if it's a small cam and it's for the young ladies with small handbags. There's an advantage from small cameras like this new Olympus (mind you I'm not an Olympus fan), it's light, reliable image quality, fast, AND weather sealed. I too have those big bulky heavy DSLRs, but sometimes I (and for many others too) needed a small, light, and reliable substitute camera to bring along during assignments or everyday shooting.

"the samples are out-of-camera JPEGs, and downsampled in Photoshop using Bicubic with no additional sharpening (I'm really not a fan of the aggressive sharpening that seems popular on the web)."

Andy - No wonder they are a bit soft. Just because some people overcook the sharpening, doesn't mean you should avoid doing any sharpening when resizing. I have several complex PS actions for sharpening images that are set up with different strengths, depending on the resize done and images usually look much better as a result. Though most of the time I use LR for exporting images to the web and LR has some very clever sharpening built in which takes into account the amount of file size change.Though I've discovered that I do need to alter the amount of export sharpen to 'low' on some images as the content management software on my website can be a bit harsh when resizing certain image types a second time to suit output device size [size on server is set to be within 2000x1200px size].

@ wroclaw,Your opinion may start a flame war, but I doubt it will change the minds of others because of the subjective bashing of the photographer and reviewer and the lack of non-subjective comparisons and reasoning about image quality. All that said, though, I hope you find some things in your hobbies and interests that satisfy you.

I think that the real point is that this camera allows you to get back to the "art of photography" the samples look quite good and sometimes I feel that some people will like to have the resolution and "IQ" of a 200MP hasselblad is just silly to continue bashing m4/3 cameras for not giving the perfection that the eye perceive in the real world, for me photography is the art of interpreting the world and not the analysis about the capacity of the sensor, the memory, etc, I still remember the effects that films like ilford B&W or TMAX gave you, and they had IQ and resolution, but you had to work around them and use them in your favor to get the photo that you wanted, so the real problem is how to use the camera (with its pros and cons which I am sure it has) and then project the image that you want the world to see, the samples presented here, gave me the idea of what the camera offers and what it will add to my currently poor photo skills

I absolutely agree that the sample pictures are plain bad. Downsampling has nothing to do with it. The pictures look very bland and very flat. The colors are also flat. The are not off, but in reality colors don't look that boring. I don't like it a single bit.

I don't think it is a replacement for the considerably faster 12-60, but they always release these cameras with slow zooms first for several reasons, one is that the general public will be impressed by the small size, not knowing that faster lenses will quickly increase the size and the weight. Another reason is that the general public will not need faster and more expensive lenses, those lenses are too special to be attractive for the average Joe. A third reason is that faster and larger lenses may focus slower because of the weight and obviously Olympus is claiming to have the fastest AF speed again, so they need slow lens to proof that, since slow lenses hide focus errors better. On the other hand, Nikon has at least two zooms, one is a real tele and the V1 is extremely fast with both the 10-30 and the 30-110. I doubt Olympus measured the OMD/12-50 combo against the Nikon V1, but it doesn't really matter.

@ Olyflyer.E-M5 is faster than J1/V1 with dedicated lenses in SAF.Now J1/V1 is faster with DX lenses using PDAF in CAF.

@ snake_bThe 12-50mm is NOT the replacement for the 4/3rds 12-60mm lens.The 12-50mm is just a kit lens with a longer and wider view. I think it's great, it's the first weathersealed lens on the micro format and being able to use it outdoors with a more extended reach than the 14-42 is a bonus.The faster ones will come later any way.It's allways been like that exept when the E-1 was released.

This toy kit lens can only open up to f6.3 at 50mm focal length. Correct? Then if you drop to f11, you will have other types of issues to contend with. Does not exactly give you a wide range of shooting at 50mm focal length or thereabouts, does it?

If they don't charge anything extra for it when you get the camera, that's one thing. But actually PAYING something for a lens this dark? In the year 2012? Why?

This "toy kit" lens is an Olympus lens - please google on the quality of these lenses; but, unrelatedly, Francis, do you EVER do any constructive criticism on ANYTHING you post?Seems to me that all you do is troll away...

Can I just point out, in my experience with Zuiko lenses, at least you can reliably use them wide open. I agree with this lamentation and hope the above speculation that faster lenses are coming is true for this has kept me away from m4/3rds so far.Still, I just want to emphasize that on many other systems, the kit lenses perform poorly wide open and only start to deliver sharp images stopped down. Zuiko lenses are spec'd more conservatively and do what they say across the f-stop range. (Just check out DPREVIEWS reviews)

@ olyflyer.... and here's another reason. A fast zoom lens would cost twice as much, and drive the price of the kit up to $1800.

Kit lenses, by definition, are cheap lenses. The upgrade lenses are better, and faster, but cost a lot more. Eventually, you will probably see a $1,000 upgrade fast normal zoom. Which is around what the 12-60mm lens costs today.

The model's makeup on the first page shot really looks 'cakey' and unprofessional, but perhaps the camera's resolving power was too great, the same shoot looks okay in the soft focus shot of course but in the other 'natural' picture mode the makeup and blemishes is still all too visible.

Organizing a model for journos to shoot for camera launch might be novel but perhaps Olympus should have chosen a better makeup artist or model considering the resulting shots, unlike a real fashion shoots will be posted on review websites unmolested by Photoshop. But again, I can't help but think that the camera&lens must be pretty good for all that to show up even in compressed jpeg on my low-res computer screen

I agree with you, but I don't think that image is intended to be used in a fashion magazine. In fact, it is a pretty amateurish picture, but I suppose the photographer wanted to mimic a 70's look, a bit yellowish/orange tone, like a bleached out colour picture from the 70's. The only problem is that there is too much detail for the real 70's look.

Lenses used were the 45mm F1.8 (mainly for the portraits), and the 12-50mm powerzoom. It's an impressively versatile lens, with a good zoom range and macro capability, and the powerzoom works pretty well, but I didn't really stress it to see how good the optics are.

This lens has an app. 4x zooming range -- why exactly would that be impressive or versatile these days? At only 50mm focal length, this lens can only open up to an an aperture of f6.3. I assume that is also something "impressive" and "versatile?'

Can you also adjust focal length manually with the zoom ring? Or will zooming always be by the built-in servo motor, like in the absolutely cheapest P&S camera lenses?

Francis, Olympus probably could produce an excellent F1.0, 10 to 1000 mm lens which may satisfy your 'versatility' requirement.Then again it would be extremely cumbersome, large and weighty and would need something lequally large and extaordinary to support it - your ego perhaps?

@Francis Carver: what you seem to have missed here is that 'versatile' isn't defined purely by focal length and aperture range (although you'll struggle to find another weathersealed kit zoom with this range for anything like the price). The 12-50mm also has impressive macro capability, and an interesting powerzoom implementation that does a reasonable job of mimicing a conventional zoom in one mode, while providing near-silent powerzoom for movie use in the other.

I think that, after reading all the previews, this camera will be the most successful of all mirrorless in 2012, provided there are no surprises in the QC. It should get a couple of Camera of The Year Awards. Any flaws seem very minor and cannot distract from the fact that this camera gets all the important things right for a small capable camera.

I wish Olympus will start releasing black versions and/or silver (same colour as the silver on the E-M5) versions of their lenses, replacing those other non-standard "silver" colours, since this is their flagship camera and it look fantastic (except for the mismatched silver colours and silver lenses do not look so good on all black cameras).

I think this will be the start of a distinct line of cameras that Olympus and its owners will be so proud of, just like the OM-1, 2, etc.

I hope this will save Olympus and free it from the beancounters style of management and it will continue to produce OM-D cameras that excites. Thank you.

Perhaps the camera will be the success you predict. Unfortunately, Oly's entire Imaging Systems division brings in just 16% of the company's revenues, but currently runs at a loss (all these product development costs to absorb). If the company's going down, a camera may help save it, but not for the reason you may imagine.

A wildly successful camera will make the imaging division a more attractive sale/acquisition target - a quick infusion of cash to help float the remaining businesses. This brings us back to the rumors of Sony's interest in a partnership/acquisition.

Unfortunately, the first move of any acquirer is to send in the bean counters. And if interest by Sony worries Panasonic? We may have a bidding war which, when the dust clears, leaves the bean counters in even stronger control.

Your best hope for Oly's survival as a creative, independent camera maker is if the rest of the company can survive with zero help from Imaging Systems.

I'd guess the loss is in the highly competitive compact camera section, rather than with the EVIL cameras where people are willing to pay twice as much compared to a standard 4/3rds lens of similar size. Maybe there's also a loss counted on the standard 4/3 inventory which is probably hard to sell now without a big discount.

And the OM-D E-M5 itself is not bad either, but the name is really unattractive. Can't believe nobody said "hey guys, shouldn't we use a catchier name, something that looks and sounds less like a chemical formula"?

Just call it the E-M5. That's the actual model name. The OM-D refers to this line of cameras, just like PEN refers to that line of cameras. For example, future additions to the OM-D family will probably be the model E-M6, model E-M7, model E-M8, and so on.

Olympus may have won me back. Looks to be a home-run for them. Now the only problem is how to come up with money to get one. This camera with the 12mm F2 (or maybe even panny 7-14), 12-50 for general non demand shooting and the either the 45 1.8 or new 60mm F2.8 Macro would make for a very nice but compact kit, at a weight range I could tolerate.

The color are nice under an overcast but the ISO 8000 image are not very impressive. Even down-sampled the noise are blotchy.

I also don't understand why the camera is still at version 0.95 when D800 with finalized firmware has been in the hand of pro shooters for the past few months. It seems like D800 will hit the ground shooting while E-M5 will spend a few months getting through its teething period before version 1.01.

What the hell does the D800 have to do with the OM-D? And why does everyone bring up the D800 when any other new camera is mentioned? Are you seriously tossing up between this and a D800? If not, why mention it...

Moments later on DPR - Canon release new entry level P&S, commenters: 'How are Canon going to compete with the D800 with that?! Canon FAIL'

Both camera were announced a day from each other with shipping date a month apart. The level of commitment by the companies to their products and photographers are what I am using to evaluate the company's standing.

Nikon talked straight to the market and we know pretty much everything about D800. D800 have been in hands of many pro and tested with final firmware.

Olympus has been playing a game of cat and mouse. They go back and forth on the sensor manufacturer. They drop hints of future 4/3 camera. They won't make clear E-M5's standing in the OM-D range. And they have websites posting shots with art filters and unfinished firmware.

This all looks to be an attempt at obfuscate. From their BoD down to marketing department, I am not surprised.

I like Olympus and was seriously thinking of 4/3 when getting my first DSLR because I have been shooting with an Olympus bridge. I went Nikon for safety and I was right. This company doesn't care much about supporting their customer base.

It is asinine to compare two entirely different systems. Went with Nikon for safety? You mean you bought that joke of a Nikon 1 mirrorless system they just came out with. Cause that was their feeble attempt to competing in the compact segment.

@ParmmmIf hasselblad or leaf come out with a new system and cut off all support to their medium system, I would complaint about their lack of commitment as well.

If you have noticed, I am comparing about Olympus and Nikon not E-M5 and D800. Nikon just care more about its product and customers.

@safeashousesF mount has been around since 1959 with 65 million lenses produced by Nikon alone. 4/3 system has been around from 2003 to 2010. Nuff said.

@ilarithsNotice I was shopping for DSLR. Mirrorless/EVIL wasn't around back then. I picked D90 over E-30. What a great choice. I also have an E-PL2 so I know hands on how expensive m4/3 lenses and bodies are.

You forget many of those lens are completely inadequate for today's high resolution sensors and that Nikon removed the ability of many of their early autofocus lenses from auto focusing when removing the in camera autofocus motors. Real commitment there.

Bottom line is all kit eventually becomes obsolete and things move on. You have been taken in by propaganda.

Peiasdf, yes, Nikon may be on schedule with their new product release, but why do you compare them to Olympus? The latter is much smaller. Yes, it is sad that they cannot release a new E-System every year, but they still offer more innovation than the big brands. Do you really want to blame them for putting their R&D money where the market is?The SLR market is shrinking and I really hope that Oly will gain market share from Pros around the world who seek for a light and durable system.

Thanks for the writeups. One wonders why it took so long to get to such an appealing form factor for a larger sensor digital camera. I guess EVF development was a factor and, maybe, manufacturers are finally listening-creating cameras as well as electronic devices. Only negatives, these are coming in at premium price points and Canon, Nikon haven't joined suit. The closest existing camera, in my mind, would be the Samsung NX10/NX11, albeit a somewhat larger sensor.

The "action" sequence doesn't pose much of a challenge. The subject's motion with respect to the camera is slight. What happens when you have a fast-moving subject that's moving toward, away from, or rapidly across the field of view?

More about gear in this article

Zhi Yuen Yap finds living in New Zealand a blessing and a curse. Getting off the beaten path to find unique locations can mean braving harsh, unpredictable weather and inhospitable terrain. Based on his photos, though, we'd say he's been pretty well rewarded for his troubles. Take a look at his work and find out more about him in our Q&A. Read more

After the CP+ show in Yokohama closed last week, editor Barnaby Britton journeyed out to Olympus's design facility in Hachioji to speak to executives and engineers. Among the people he spoke to was Hirofumi Imano, Division Manager of Product Strategy. In a broad-ranging interview, Mr. Imano explained the company's strategies for competing in a tough market, the genesis of the OM-D line, opportunities in video and why he thinks Canon and Nikon might not be making high-end mirrorless cameras.

After the CP+ show in Yokohama closed last week, editor Barnaby Britton journeyed out to Olympus's design facility in Hachioji to speak to executives and engineers. Among the people he spoke to was Hirofumi Imano division manager of product strategy.

Olympus has issued a firmware update for the OM-D E-M5, adding two new features that owners should welcome: an extended 'Low' ISO setting and smaller AF points. The ISO 100-equivalent setting promises lower noise, and enables shooting of fast primes at closer to maximum aperture in daylight, but comes at the cost of earlier highlight clipping. Also being added to the E-M5 is the ability to select smaller AF target points for more accurate focusing. Get the update

CES 2014: We got our hands on the recently announced Leica DG Nocticron 42.5mm F1.2 ASPH OIS at the CES trade show in Las Vegas. It's an ultra-fast portrait prime for Micro Four Thirds that offers an 85mm equivalent field of view. We shot some quick samples mounted on the Panasonic Lumix DMC-GH3, including an aperture progression series. We've just added 16 more images to our previously-published gallery, taken with the new lens attached to an Olympus OM-D E-M5. See gallery

Latest in-depth reviews

The Fujifilm X-H1 is a top-of-the-range 24MP mirrorless camera with in-body stabilization and the company's most advanced array of video capabilities. We've tested the X-T2's big brother extensively to see how it performs.

Panasonic's Lumix DC-GX9 is a rangefinder-style mirrorless camera that offers quite a few upgrades over its predecessor, with a lower price tag to boot. We've spent the weekend with the GX9 and have plenty of thoughts to share, along with an initial set of sample photos.

Panasonic's new premium compact boasts a 24-360mm equiv. F3.3-6.4 zoom lens, making it the longest reaching 1"-type pocket camera on the market. We spent a little time with it; read our first impressions.

Latest buying guides

Quick. Unpredictable. Unwilling to sit still. Kids really are the ultimate test for a camera's autofocus system. We've compiled a short list of what we think are the best options for parents trying to keep up with young kids, and narrowed it down to one best all-rounder.

Landscape photography isn't as simple as just showing up in front of a beautiful view and taking a couple of pictures. Landscape shooters have a unique set of needs and requirements for their gear, and we've selected some of our favorites in this buying guide.

If you're a serious enthusiast or working pro, the very best digital cameras on the market will cost you at least $2000. That's a lot of money, but generally speaking these cameras offer the highest resolution, the best build quality and the most advanced video specs out there, as well as fast burst rates and top-notch autofocus.

Are you a speed freak? Hungry to photograph anything that goes zoom? Or perhaps you just want to get Sports Illustrated level shots of your child's soccer game. Keep reading to find out which cameras we think are best for sports and action shooting.

At this year's CP+ show in Yokohama, we sat down with senior executives from several major manufacturers, including Canon. Topics of conversation included Canon's ambitions for high-end mirrorless cameras, and the importance of responding to the demands of the smartphone generation.

We were recently able to follow local frame builder Max Kullaway as he created one of his AirLandSea bikes. Here are our picks of the photos we got, as the project progressed from bare tubes all the way to rideable bicycle.

On paper, the Sony a7 III is a tempting option for photographers who've been considering a switch to full-frame mirrorless. But how does its image quality stack up? We compare it to the Mark II and a few of its other peers.

Google Lens uses artificial intelligence and 'computer vision' to identify and provide information about businesses, landmarks and other objects using your phone's camera. And now it's available for iPhone users, too.

In the job posting, the Times' describes this role as "one of the most important and high-profile jobs in visual journalism." If you're looking for a high profile job in photojournalism, you could do a lot worse than being Photo Director at The Gray Lady.

According to a recent report out of South Korea, Samsung is increasing production of its ISOCELL image sensors in a bid towards market leadership for image sensors. To reach this goal, Samsung will have to dethrone current market leader Sony... no small task.

In this video, large format photographer Ben Horne shows off the incredible resolving power of 8x10 slide film by pixel peeping a massive 709.6-megapixel drum scan of one of his landscape shots. And you thought 100MP medium format was big...

Photographer Wendy Teal tells the heart-breaking story of a wedding she shot at a hospital on just 24-hours notice. The mother of the bride had been given one week to live, and Wendy responded to the couple's desperate social media plea for someone to capture their special day.

Syrp has announced the Magic Carpet Pro: a slider that offers filmmakers an 'infinitely extendable' range thanks to built-in track levers that let you connect lengths of track without the use of tools.

At CP+ we sat down with executives from several major manufacturers. Among them was Kenji Tanaka, of Sony, who talked to us about the a7 III as well as its plans to attract more pro shooters – without ignoring APS-C and entry-level customers.

How do you shoot macro photography on an 18x24cm large format wet plate camera? You 'connect' two large format cameras together! That's how wet plate photographer Markus Hofstaetter did it, and you can read about the whole process in this article.

The Fujifilm X-H1 is a top-of-the-range 24MP mirrorless camera with in-body stabilization and the company's most advanced array of video capabilities. We've tested the X-T2's big brother extensively to see how it performs.

Motorsports photojournalist Jamey Price recently flew to Canada with Lamborghini for the car company's Winter Accademia 2018, where clients get to drive the latest Lamborghini supercars on snow and ice. Yes... it is exactly as awesome as it sounds.

For the Pixel 2 smartphone's Motion Photos feature, Google built on its existing Motion Stills technology by adding advanced stabilization that combines software and hardware capabilities to optimize trimming and stabilization.

"After his camera was stolen from his room in the orphanage, he switched to an iPhone for his photography, reasoning that the image quality of a big, heavy camera was less important than the freedom of a cell phone. 'Quality? Screw it, I’d sketch things with a pencil if I could draw,' he wrote in a blog post."

Chinese manufacturer Vivo has announced some AI-powered Super HDR tech to compete with Google's HDR+ system. Both systems combine multiple images to create a final shot with more dynamic range and less noise, but Super HDR claims to do so more intelligently.

The 'semantic image segmentation model' categorizes every pixel in an image and assigns it a label, such as “road”, “sky”, “person” or “dog.” And now, Google has released its latest version as open source, making it available to any developers whose apps could benefit from the tech.